Being Erica 5x10 Dr Arthur
by sk8ter boy
Summary: Previously on my Being Erica fan fiction series (SPOILERS): Erica got pregnant and Adam is the father; Adam turned himself in to the authorities for having conceiled Robin's body; Erica and Kai are dating; Sarah is out of rehab; There are many rules surrounding therapy; Dr. Arthur owns a mysterious car; Rita is Travis's sister.
1. TEASER

TEASER

FADE IN

01 INT. KAI'S BEDROOM - NIGHT

"2023/10/07". This is the date on the digital calendar of the bedside table.

ERICA and KAI are naked in bed, having sex. Heavy breathing. She is on top of him, bouncing faster and faster, delighted. She is having an orgasm.

 **KAI**

I m almost there, Erica. I m going to -

 **ERICA**

Hang in there. Don t stop! Don t stop, please!

 **KAI**

I can't! I - - It's too late!

Kai moans deeply. He just had an ORGASM. He hides the sweaty face with his hand, in regret.

Erica lays down on his side. Gasps.

 **KAI**

Oh, God. I'm so sorry, Erica. I couldn't control myself.

Erica giggles.

 **ERICA**

Are you kidding? Don't worry about it. It's not like we were in it for two minutes.

Kai looks at the digital calendar and checks the time.

 **KAI**

(Surprised)

Wow. Definitely not two minutes.

More like two hours!

 **ERICA**

See? You're great.

Beat.

 **ERICA**

(pretending to be thinking deeply)

I'm actually very lucky, you know?

I may have switched boyfriends, but

the sex is still great.

 **KAI**

(Giggles)

Okay, that was an overshare!

Erica turns to him and caresses his face.

 **ERICA**

You said that I could talk to you about everything.

Kais holds her hand.

 **KAI**

You do. How is Adam, by the way?

Erica feels cornered. Frees her hand from Kai's and turns her back to him.

 **ERICA**

He...

(Clears her throat. Dry)

He is still in jail.

 **KAI**

So, what did you two talked about,

before he made the decision to turn himself in?

Erica feels sick and covers her mouth with the hand.

She jumps out of bed and rushes to the bathroom.

 **ERICA**

Well, it was the right decision to make, right?

Erica shuts the bathroom door.

 **KAI**

Are you okay? Are you mad?

Kai hears Erica PUKING. Concerned, he gets up and approaches the door, hesitantly.

 **KAI**

What is going on? Are you okay?

 **ERICA - O.C.**

Yeah, I'll be. Don't worry. It must have been

those weird two thousand and twenty-three minty pancakes.

Erica opens the door. She is pale, but smiling. Not very genuinely, though.

 **KAI**

Are you sure you are okay?

 **ERICA**

Yeah, like I said, those things you guys eat in the future are disgusting.

And I can't believe it's just a few years ahead of my time.

She pulls him back to bed.

 **KAI**

Remember what you just said about me.

You can tell me everything.

They get in bed.

 **ERICA**

I know. So - - What are you doing tomorrow?

Awkward beat. Kai stares at her. He knows she is bullshitting him.

 **KAI**

I'm practicing this new song I'm writing.

And Rita is coming to visit me.

 **ERICA**

Rita?

 **KAI**

Yeah, Travis's sister. She is not in a good place right now.

 **ERICA**

(I don't give a fuck)

Oh.

Erica turns her face away from KAI and glances at the bedside table. There is a picture of Kai, Travis and Rita there. She grabs it and stares at it. His boyfriend has a picture of that bitch on a bedside table?

Long beat. Kai shows her another picture of the two of them (Erica and Kai), that was on the bedside table next to him. There is no reason for her to be jealous.

 **KAI**

This is on my side of the bed.

Erica puts the picture back on the bedside table and smiles back at Kai.

 **ERICA**

I know. I'm being stupid as usual. Sorry.

 **KAI**

(Joking)

Tonight, on Being Stupid...

 **ERICA**

Hey!

Erica shoves him. He laughs.

She lays her head on his chest.

 **KAI**

And you? What are you doing tomorrow?

 **ERICA**

I'm going to my parents'. They're back from the honeymoon.

(sighs, tired)

And I have so much to do because of the launch of Jana's book.

 **KAI**

But that's a good thing, right? You're the editor and you believe

in the story.

 **ERICA**

I know. But there are a lot of things to do. You have no idea how

hard it is to settle things up.

 **KAI**

(Joking)

Yup, I don't. I just walk to the stage and do the magic.

 **ERICA**

(Giggling)

You're so full of yourself!

Beat.

 **KAI**

Now, seriously, it s better if you go and take care of

whatever you have to do.

Erica groans and hides behind the sheets.

 **ERICA**

No! Let me stay. I don't want to deal with that right now.

 **KAI**

But you have to -

Erica suddenly covers Kai with the sheets as well. They laugh.

 **ERICA - V.O.**

After all this time, my life has changed. A lot. At any moment,

our lives take different and unexpected turns. And I have learned

that change is inevitable.

CUT TO:

02 INT. SARAH'S BEDROOM - DAY

It is dark. SARAH is in bed, her back turned to the door. Her eyes are wide open. She can not sleep. What is bugging her?

 **ERICA - V.O.**

But how long does it take for one

to figure out how to live with those changes?

There is a KNOCK on the door. She does not answer.

TOM gets in, holding a plate of food. She closes her eyes, pretending to be asleep. Tom rests the plate of food on the bed, near Sarah s feet. He opens the windows. She grumbles.

 **SARAH**

What are you doing?

 **TOM**

Good morning! How are feeling today?

Sarah sits, scratching her eyes.

 **SARAH**

Sleepy. Thanks for breakfast, though.

 **TOM**

It's a beautiful day.

You'll stop feeling that way as soon as you go outside.

Do you want to go for a walk? We could have a picnic lunch at the park.

Sarah grabs the plate and starts eating.

 **SARAH**

No, thanks. I'll find something to do at home.

 **TOM**

Honey, you haven't left your room since you came back.

That's not healt-

 **SARAH**

(Cuts him off)

Can I get some orange juice, please?

 **TOM**

Sure! But think about what I said, okay?

Tom leaves. Sarah puts the food away and gasps, unexcited.

CUT TO:

03 EXT. ERICA'S PARENTS HOUSE - DAY

Erica parks her car and gets out. She is on the phone.

 **ERICA**

(Concerned)

I can not thank you enough for what you're doing.

I know you have a lot of work. And you're doing this for free!

04 EXT. PRISON - DAY

JUDITH rushes to the prison, carrying a bag full of documents.

 **JUDITH**

Don't worry about it. Adam is my friend too.

Of course I'd be his lawyer.

I couldn't do anything about that bail issue, though.

 **ERICA**

What do you mean?

 **JUDITH**

The judge agreed the set bail -

Judith stops. Beat.

 **JUDITH**

At fifty thousand dollars.

05 EXT. ERICA'S PARENTS HOUSE - DAY

INTERCUT - PHONE CONVERSATION

 **ERICA**

What? That is too much money!

 **JUDITH**

Bails are meant to be that way.

They are always set way above people's budgets.

 **ERICA**

So what now? What can I do? Is he going to just stay there?

Erica's POV: LENIN and SAM are on the other side of the street, walking in her direction.

 **JUDITH**

If he doesn't pay, he'll stay in jail. Simple as that.

(Beat)

I'm sorry, Erica. I don't mean to be harsh. I'm just telling you the facts.

 **ERICA**

No, of course! I - - I'll figure something out.

Hey, I've got to go.

 **JUDITH**

Do you want me to give Adam a message or do you want to tell me

anything else about his case?

Judith just touched a nerve.

 **ERICA**

(Stutters)

No, I - - No. Just - - Just tell him that - - I've got to go. Bye!

Erica turns off the call. Beat. She presses the cell phone against her face, in embarrassment.

 **ERICA**

Tell him that I ve got to go? - - Seriously, Erica?

Sam notices Erica is talking to herself.

 **SAM**

Hey you! Are you okay?

Erica gives Sam and Lenin side hugs.

 **ERICA**

Hi! Yeah, I'm okay.

 **LENIN**

Hey!

 **SAM**

No, you're not. You were talking to yourself.

Is it because of Adam?

 **ERICA**

What? No.

 **SAM**

It is! Are you going to tell mom and dad about the pregnancy?

 **LENIN**

Right! Congratulations!

Leo is going to have a little cousin to play with.

 **ERICA**

Thanks, but - - Yeah, I don't feel so happy about it right now. I

have a lot going on. The whole Adam situation...

 **SAM**

That's normal. We're Strangers. Drama is our middle name. But

having a child is a wonderful experience. That you should not keep

to yourself. You have me as an example. Remember that whole

Barbara Strange-having-a-child-that-we-didn't-know-about thing?

It's better to tell them sooner than later. Because they will find

out that you're pregnant.

 **ERICA**

Okay, okay! Fine! I'll tell them.

 **SAM**

(Excited)

Great! That's the right decision!

Sam pulls Erica towards the house.

 **SAM**

Let's go!

Erica follows her, reluctant. She shakes her head negatively.

CUT TO:

06 DR. ARTHUR'S OFFICE - DAY

DR. ARTHUR fixes his CAR's motor. WE SEE A SHINY LIGHT COMING FROM IT. He shuts the hood.

 **DR. ARTHUR**

You're getting old, Elena. Just like me.

I won't be here much longer to fix you.

He gets inside and starts it. He opens a little box with a speedometer inside, with a needle pointing at the word PRESENT, located between PAST and FUTURE. He caresses the car. As he adjusts the rear window, WE SEE A MAN SITTING ON THE BACK! WHERE DID HE COME FROM? DR. Arthur gets shocked and jumps off the car. The Man (43), gets out too, only much slower and cautiously. He is wearing a white overall. We can tell by his mischievous smile that he is up to no good.

Long beat. DR. Arthur can not believe that he is standing there, in front of him. His worse nightmare.

CUT TO:

07 INT. DR. ARTHUR'S HOUSE - SITTING ROOM - DAY - FLASHBACK

A little boy (10), sitting on a sofa, reads a handful of notes called "Quantum Mechanics: Time Travel Theory, written by ALFRED L. MITCHELL . Who is he? Did he wrote that? Or is he just curious? He gasps in boredom. Does not seem very excited about it. He suddenly hears a BIG CRASH and runs out of the room.

08 INT. DR. ARTHUR'S GARAGE - DAY

Black smoke. The room is very similar to DR. Arthur's office. The boy suddenly stops and covers his mouth with the hands, in shock. In front of him there is a car - The Dr. Arthur's car we all know - COMPLETELY BROKEN. Inside lies Alfred L. Mitchell, the MYSTERIOUS MAN WITH THE WHITE OVERALL, except that this time it is COVERED IN BLOOD. HE IS DEAD.

 **LITTLE BOY**

Dad?

BACK TO:

09 INT. DR. ARTHUR'S OFFICE - END OF FLASHBACK

DR. Arthur has the little boy's expression of terror.

 **DR. ARTHUR**

Dad?

END OF TEASER


	2. ACT ONE

ACT ONE

10 INT. DR. ARTHUR'S OFFICE - DAY

Silence. The two men can t stop staring at each other. Alfred steps forward. In response, DR. Arthur steps back. Is he dreaming? Or, in this case, having a nightmare? Alfred gets closer and closer to him. Touches his face, grinning. DR. Arthur breathes heavily and falls to the floor, exhausted in confusion. Alfred laughs.

 **ALFRED**

Still weak, I see.

(turning to the car)

But you did something with it, didn't you? It is different.

DR. Arthur tries to respond, in vain.

Alfred approaches the car, scrutinising it with the eyes.

 **ALFRED**

Did you succeed?

Beat. He stops and turns to DR. Arthur again.

 **ALFRED**

I asked you a question! Did you succeed?

Did you went back in time and did it?

(Looking at the floor. A slight expression of frustration in his face)

I tried to. I was going to - - but - - I ended up here.

Something got messed up.

Walks to the car again.

 **ALFRED**

I don't understand what, though. But you do.

DR. Arthur struggles to get up, but succeeds.

Alfred reaches for the car's handle, but DR. Arthur grabs his arm, decisively.

 **ALFRED**

(Staring at DR. Arthur's arm grabbing his, curious)

Well, I guess I was wrong. You're different.

 **DR. ARTHUR**

Things change. And you need to adapt - which is a lesson that you

never learned, unfortunately.

Things change. And that car is no longer yours.

 **ALFRED**

I started that car. I started this whole thing that you re playing with.

That car is mine. Your mother was many times in it with me before

you were born. So, yes, the car is mine.

 **DR. ARTHUR**

You are dead, Alfred. Dead.

 **ALFRED**

I'm right here in front of you, son.

DR. Arthur grabs his face and makes him look at him in the eyes.

 **DR. ARTHUR**

Look at me. I'm already seventy years old. Do you think you're

immortal now?

DR. Arthur shows him the date in his watch.

 **DR. ARTHUR**

See the date?

Alfred pulls the watch out aggressively.

 **ALFRED**

I don't care! If I'm here, it means that, yes, in a way I'm

immortal. The same way that you are.

Are you going to tell me that you don't time travel to the past

and to the future?

Are you going to tell me that you never went back to your

childhood to smell the cleaner air?

Or that you never went to 2034 to see if our planet is still

intact? -

So, yes, we are immortal, son. Because time is not a straight

line. It is fragmented.

Slow motion: Alfred throws the watch to the floor and it breaks in a million pieces. DR. Arthur shakes his head. There is no hope for that man.

CUT TO:

11 INT. ERICA'S PARENTS HOUSE - DINNING ROOM - DAY

GARY, BARBARA, Erica, Lenin and Sam are all eating at the table.

They all laugh, relaxed. Except for Erica, pulling out a fake smile.

 **BARBARA**

I was soaking wet!

 **SAM**

I can't believe that you two went on a jet boat!

 **GARY**

We're living life to the fullest!

 **SAM**

You guys really have changed. You're better now.

 **BARBARA**

Aw, thank you, sweetie.

Sam gives Erica a look, as an attempt to encourage her to speak about the pregnancy.

 **SAM**

Things really do change. Don't you agree, Erica?

Erica clears her throat and gets up.

 **ERICA**

Sure! - - Are you guys finished?

 **BARBARA**

Yes! Thank you, honey!

Erica takes everyone s plates. Sam can not stop giving her the look , but she runs to the kitchen.

 **GARY**

What about you guys? Did you behave while we were out?

 **LENIN**

Never!

They laugh. Erica gets back and sits.

 **SAM**

Speaking of that - Erica has something to tell you.

Erica gets embarrassed. She can not believe her sister is doing that to her. She gets up.

 **ERICA**

(Clears her throat)

Yeah, I mean - - I just wanted to - - You know.

Awkward beat.

 **ERICA**

You know that I m launching 50/50 s first big fiction book. And -

I wanted to invite you to the launch.

Sam is stunned, her mouth opened. What the fuck is wrong with Erica? Why did she lie?

 **BARBARA**

Oh, of course we are going to be there! I'd be angry if you didn't

invite us, to be honest.

 **GARY**

Congratulations, honey. I'm so proud of my two beautiful daughters.

Erica sits back and glances at Sam. She nods at her in a disapproving way.

CUT TO:

12 INT. PRISON - VISITOR'S ROOM - DAY

ADAM and Judith are sitting at a table. He looks like he has not slept for days.

 **ADAM**

I don't have that whole amount of money. Period. I know that I'm

going to be here until this is over.

 **JUDITH**

Adam, calm down.

 **ADAM**

I am calm. I don't have anywhere to go!

Beat.

 **JUDITH**

Okay. I just wanted to talk to you about your possibilities.

 **ADAM**

(Thinking out loud)

What I want is the possibility to go back in time and change all

of this. But I failed the test.

 **JUDITH**

What do you mean?

 **ADAM**

Oh, nothing. - Sorry.

 **JUDITH**

Adam, focus. I wanted to tell you that concealing a body is a

serious crime, but it is not the end of the world.

We are going to prove that you did it because of your brother and that you didn't have bad intentions.

But you have a criminal record. I'll do my best, but you will do some time.

 **ADAM**

How much?

 **JUDITH**

A year, minimum - maybe.

Remember that aggression is also a crime.

Adam can't find a good position on the chair. He is so angry.

 **ADAM**

God, if it wasn't for that child, I'd say that I'm back at bloody

square one.

 **JUDITH**

What baby?

 **ADAM**

I only have one child that I know of.

Wait - Erica didn't tell you?

(Giggles ironically)

Why am I surprised?

Judith is speechless. She can not believe Erica did not tell her anything.

CUT TO:

13 INT. TOM'S HOUSE - DINNING ROOM - DAY

Sarah and Tom are at the table eating lunch. He is not eating much and glances at her, trying to gain courage to speak up. She, on the other hand, does not take her eyes of the food and eats fast.

TOM shows her tickets to the cinema.

 **TOM**

What do you say?

She barely notices the tickets.

 **SARAH**

It's not really my thing.

 **TOM**

We can choose some other movie to watch.

 **SARAH**

Dad - - I don't want to go, okay? I think I'm allowed not to.

 **TOM**

Why don't you want to go?

 **SARAH**

(Stutters)

Because - I - I need to concentrate in more important things.

 **TOM**

Like ?

 **SARAH**

Like - trying to figure out where to go from here.

 **TOM**

You can start by leaving your room and go have fun.

Sarah gets up in a rush.

 **SARAH**

I'm finished. Have a good night.

 **TOM**

Sarah, please!

Too late. She rushes to her room. Tom follows her.

14 INT. SARAH'S BEDRROM - DAY

Sarah shuts the door and hides in bed. Tom gets in, concerned.

 **TOM**

Sarah, why are you acting this way? You know you're not a teenager

anymore, right? - Look at me.

She turns her face to him. Desperation in her wide eyes.

 **SARAH**

I CAN'T LEAVE MY ROOM BECAUSE I DON'T WANT TO BE A JUNKIE AGAIN,

OKAY?! - And, by the way, my childhood was not exactly normal

because of you, so you don't really have the right to tell me not

to behave like a teenager.

Tom keeps a calm mind and approaches the bed. Prepares to sit.

 **TOM**

I know, Sarah, but you need to let go - -

 **SARAH**

Go! - - Leave me alone, please.

 **TOM**

You know that you can't be here forever, right?

He is not leaving unless she does something. She gets out of bed and pulls him away.

 **SARAH**

Yes, I know that I'm not Rapunzel, and I will be ready to go

outside and live a normal life , but right now I just want to be

alone and you keep pushing me!

Sarah manages to get Tom outside of her room and locks the door.

She leans against it and breathes deeply.

 **TOM - O.C.**

Things are different now, honey. And you need to accept that.

CUT TO:

15 INT. ERICA'S PARENTS HOUSE - HALL - DAY

Erica grabs her purse and prepares to leave. Sam intercepts her, angry.

 **SAM**

Erica!

 **ERICA**

Okay, Sam, don't. I was obviously not ready to do it and you

pushed me. You should not have done that, because I would never do

that to you.

 **SAM**

Well maybe you should have. I care about you, Erica, and trust me

\- The longer you hide your pregnancy, the more problems you will

have to face when the truth comes out. It s not just your baby

that it's growing. The problems with everyone around you grow as well.

Beat. Erica is embarrassed. She knows Sam is right but she can not admit it.

 **SAM**

Take care.

Sam goes away. Lenin follows her.

 **LENIN**

Hang in there, Erica. You know if you jump, we'll all catch you.

And you don't seem to be that heavy, so it won't be a problem.

Erica smiles at him. He is a damn good person. Lenin winks at her and leaves.

Erica gets a call. She grabs the purse and picks it up.

 **ERICA**

Judith?

16 EXT. POLICE STATION - DAY

Judith rushes to her car.

 **JUDITH**

I just wanted to tell you that Adam is a mess - - prison is

actually making him ruder. And - oh! - he asked how the baby is.

So, tell me, Erica, is your little baby alright? I'm sorry, is it

a boy or a girl? I'm so sorry I forgot, you know my memory is

terrible.

17 EXT. ERICA'S PARENTS HOUSE - DAY

Erica has a long "Oh, fuck! moment.

 **ERICA**

Judith, I wanted to tell you, but you know how things are in my

life and -

 **JUDITH**

I asked you earlier if there was anything that you wanted to tell

me and you lied! You freaking lied, Erica!

 **ERICA**

I just told Adam a few days ago and I was scared and -

Too late for apologies. Judith turned off the call right in her face.

 **ERICA**

Judith?

Erica looks around her, desperate and frustrated.

 **ERICA**

Sam is so damn right.

18 INT. DR. ARTHUR'S OFFICE - DAY

Alfred tries to start the car, but no success. He explodes in anger and punches the wheel. Dr. Arthur analyses him, calmer than before. That man has not changed a bit. Alfred scavenges through the car.

 **ALFRED**

I NEED TO KNOW HOW THIS PIECE OF SHIT WORKS!

He finds a photograph of a woman in the glove box. He petrifies. Then he notices the time travel speedometer near the gearshift lever and finds it curious.

 **ALFRED**

What's this? How can I move the needle to the Past?

(Showing him the picture of the woman)

I need to save your mother. Why didn't you do it already?

Dr. Arthur steps closer to him.

 **DR. ARTHUR**

Because we can not bring back the dead.

 **ALFRED**

Bullshit. Do want to bet?

 **DR. ARTHUR**

I tried to save her. I tried. Many times. But she always died.

Life took her away. You can mess with time and space, but only under

some rules that I have learned throughout the years.

(Beat)

Plus, you need a special power to start the car properly. That's

within you.

Alfred storms off the car and gets really close to DR. Arthur, who now is not showing any weakness.

 **ALFRED**

STOP BULLSHITTING ME! START THE FREAKING CAR! We are going to the

past, do you hear me? Time is shapeable. We will find a way to

contour fate.

 **DR. ARTHUR**

I wouldn't call it exactly fate.

 **ALFRED**

Me neither! Now start the car! You are responsible for Elena's

death! Can't you realise that? You killed her when you were born so

that you could live! You murderer!

In the past, DR. Arthur would have burst into tears. But now he keeps being strong.

 **DR. ARTHUR**

You know that makes no sense. You need to figure out a way to move

on. I won't do anything about your problem. Now you need to go to

your present.

Long beat. Alfred looks down. Frustrated, he screams and prepares to attack him, but DR. Arthur concentrates and - Alfred DISAPPEARS! But he knows he may come back. DR. Arthur grabs the photo on the floor and puts it back in the glove box. His hands shake. He passes them on the car.

 **DR. ARTHUR**

(Nostalgic)

Things have changed.

CUT TO BLACK

END OF ACT ONE


	3. ACT TWO

ACT TWO

FADE IN

19 INT. KAI'S LIVING ROOM - DAY

Kai is practicing a song, holding the lyrics in his hand while he wanders around the room. There is a KNOCK on the door and he opens it. He sees RITA on the other side, beautifully dressed - maybe overdressed - and finds her strange.

 **RITA**

Hi!

Awkward beat.

 **RITA**

Can I come in?

 **KAI**

Oh, yes - - Sorry, it's just - -

I didn't know we were going somewhere.

Rita gets in.

 **RITA**

Oh, no, we aren't. I just - - felt like dressing up. Don't really

know why.

 **KAI**

Do you want to sit?

 **RITA**

Yes, thanks.

Rita sits. She stares at him in a really deep and awkward way.

 **KAI**

Do you want some water?

 **RITA**

Wine would be nice.

Beat. Kai knows perfectly where she wants to go with that. He goes grab the wine.

 **KAI**

So How are you holding up? You wanted to talk about that, right?

 **RITA**

Yeah, well - Things haven't changed much since our last talk.

Everything is stagnated.

Kai brings the bootle and pours to glasses of wine.

 **KAI**

You know that years have passed. A lot has changed.

 **RITA**

My parents keep reminding me of Travis. They look so down every

single day. I feel like this depression and mourning will last

forever.

Kai offers her a glass of wine.

 **KAI**

You know that drinking will not solve anything, right? I know this

is a cliché, but it's true.

 **RITA**

I know...

 **KAI**

So, let's - help you figure out a way to deal with this and move

on. What do you say?

Rita immediately kisses him, but he rejects her, getting up right away. He is astonished and does not know what to tell her.

 **KAI**

Wow!

Rita gets up and approaches him. She does not regret what she just did.

 **KAI**

Rita, I - I didn't mean that. At all.

 **RITA**

Why not? We are so much alike, Kai. We understand each other's

pain. Your eyes - - Your look - - Is the same as mine when I look

at myself in the mirror.

We should be together.

 **KAI**

(Confused)

Rita, we - - We went through the same thing - - God, I can't

believe this is happening.

(looking at her. Serious)

You should go. I don't know what to tell you right now. But I

don't feel the same way as you. I'm with someone else.

And I love her.

Long beat. Rita stares at him, furious. She is about to explode in anger. She suddenly storms off, leaving the door open.

CUT TO:

20 INT. DR. NAADIAH'S OFFICE - DAY

DR. NAADIAH is sitting with a PATIENT.

 **DR. NAADIAH**

Well, let's see if your right about your predicament.

She sends her to the past.

There is a KNOCK on the door. DR. Arthur rushes in. DR. Naadiah finds him strange. She never saw him unbalanced.

 **DR. NAADIAH**

DR. Arthur?

 **DR. ARTHUR**

Naadiah. I'm sorry, I didn't mean to disturb your work.

 **DR. NAADIAH**

Has something happened?

 **DR. ARTHUR**

Nothing to worry about.

DR. Arthur sits on a chair, calmer. Naadiah sits in front of him.

 **DR. NAADIAH**

Are you sure? Because you never showed up like this.

 **DR. ARTHUR**

I just want to know your opinion about something. Do you think - -

that it is possible for one to die during a trip to the future?

 **DR. NAADIAH**

Why would we send a patient to the future? That I know of, Erica

was the only who had a session in the future.

 **DR. ARTHUR**

No, I don't mean a patient, I mean generally.

Beat. DR. Naadiah thinks for a moment.

 **DR. NAADIAH**

Well...

DR. Naadiah grabs a piece of paper and a pen and draws a STRAIGHT LINE.

 **DR. NAADIAH**

Let's assume this is the present.

At some moment, she STOPS the line and continues it a little forward and above in the sheet.

 **DR. NAADIAH**

And this is the future.

She eventually stops drawing the line halfway through the sheet.

 **DR. NAADIAH**

This is death.

DR. Arthur analyses the sketch profoundly.

 **DR. NAADIAH**

And I assume that is it. But you are the expert here.

 **DR. ARTHUR**

(Still staring at the page)

Nothing happens. Your life stops both in the present and in the

future. One of many possible futures. Because time is fragmented.

 **DR. NAADIAH**

Yes, I suppose it's that. But you know best. Why are you asking me

this, though? - I know you, DR. Arthur. Something happened.

DR. Arthur covers the face with his hand, for a moment.

He gets up.

 **DR. ARTHUR**

I'm fine, I just -

Things changed a long time ago and it's time to reinvent.

He walks to the door.

 **DR. ARTHUR**

Remember, Naadiah: Sometimes change is not enough. You need to

reinvent yourself.

He goes away and DR. Naadiah gets concerned about him. What the hell was he talking about?

CUT TO:

21 INT. ERICA'S LIVING ROOM - NIGHT

Erica walks nervously around the apartment, trying to gain courage.

She grabs her phone on the counter and makes a call.

 **ERICA**

Hey, Judith, it's me. Please, listen this message until the end. I

want to meet you. I don't know where to go and I'm glad you found

out about the pregnancy because I really need your help. Please,

call me back.

She turns off the call. She is about to cry.

There is a pot on the cooker, covered with a lid. THE WATER IS BOILING AND SPILLING OUT. Instead of taking the lid off, Erica insists on cover the pot. Long beat. The water starts spilling out again. She covers the pot again. She suddenly looks at nothing. She is having a vision.

CUT TO:

22 INT. SARAH'S ROOM - NIGHT

Sarah sits in front of the canvas and grabs a brush. Is she finally going to paint something?

Beat. She suddenly breaks the canvas with the brush. Approaches the window and looks outside. Another Beat. She closes the curtains and gets in bed.

BACK TO:

23 INT. ERICA'S OFFICE - NIGHT

Sarah appears lying on the floor. She gets up and notices Erica sitting on the chair.

 **ERICA**

Hello, Sarah.

 **SARAH**

Okay, DR. Erica, I don't need you pushing me as well. I need time

to figure things out, okay? This is not me, being healthy and

living in a stable family. I need time to take it all in. And I

will get out of the house, obviously.

 **ERICA**

Are you sure you're going to? The same way you went to the Art

Festival?

 **SARAH**

What are you talking abou-

(notices the mirror with the regrets)

Oh, right. My regret. That's different.

 **ERICA**

How come? Tell me about it.

Sarah takes a deep breath, trying to remember what happened.

CUT TO:

24 INT. SARAH'S PARENTS HOUSE - LIVING ROOM - DAY - FLASHBACK

 **SARAH - V.O.**

This was one of the biggest Art Festivals of Canada and you could

win a lot of money. But my parents didn't let me go. They didn't want

me near Martin and far away from home. We got in a huge fight. I

was a minor, so I had to do what they told me.

CUT TO:

25 INT. SARAH'S PARENTS HOUSE - SARAH S OLD BEDROOM - NIGHT - FLASHBACK

Sarah packs her clothes and storms off.

 **SARAH - V.O.**

After that, I got really stressed out and ended up running away a

few weeks later. I had had enough of their bullshit.

BACK TO:

26 INT. ERICA'S OFFICE - NIGHT

 **ERICA**

So this time...?

Sarah approaches Erica, confident.

 **SARAH**

This time I'm going to Art Festival. Whether they like or not.

 **ERICA**

(Doubtful)

I honestly hope so.

And poof! Sarah disappears.

CUT TO:

27 INT. SARAH'S PARENTS HOUSE - LIVING ROOM - DAY

A stunned Sarah, rocking a punk-rock outfit, appears in front of her angry parents.

 **DR. TOM**

You are not going to Montreal! Do you have any idea how far is

that? And do you think I would trust you with that junkie?

CUT TO:

28 INT. PRISON - CELL - NIGHT

Adam is playing cards with another INMATE. They both look bad and bored. Adam has a cut in the arm and keeps staring at it.

 **INMATE**

(Noticing Adam's cut)

Don't worry, after a while you'll get used to it. That won't be

the last you're gonna get here. You need to be prepared for that.

Adam does not respond. He is on the verge of exploding in anger.

A GUARD opens the cell.

 **GUARD**

Hey, grumpy face. Pack you're stuff. You're free.

 **ADAM**

Is this a joke?

 **GUARD**

Do I look like a freaking clown to you?

 **ADAM**

Who paid for my freedom?

 **GUARD**

I don't give a single shit. And I told you to pack your stuff.

Immediately.

What the fuck? Who was it? Erica? John? Judith? Adam is stunned.

CUT TO:

29 EXT. PRISON - NIGHT

Adam gets out, holding a bag. He looks back at the prison. Beat.

He spits to the floor and continues walking.

A car approaches him. He gets scared, because he knows who those people are. A GROUP OF MEN gets out and approaches him. They are all thugs dressed in black. One of them, JAMES (38) is at the front.

 **ADAM**

James?

 **JAMES**

Adam! So - What does freedom taste like?

Of course he knows he is not really free. Not from them.

 **ADAM**

(Suspicious)

Did you pay it? It was you? Where's John?

James approaches him, grinning, and puts a hand in his shoulder.

 **JAMES**

Calm down, buddy. You're asking too many question. You're opening

your mouth too much.

 **ADAM**

Oh, I get it. You want me to keep quiet about the drug business.

James giggles ironically and taps him on the head.

 **JAMES**

Exactly! And you're still talking.

(To the Group)

How funny is this guy?

(To Adam, now in a threatening way)

Get in the car. We're giving you a ride home.

Beat.

 **ADAM**

I don t want anything from you.

They just stare at him, waiting for him to change the answer. Long beat. Adam gives up and gets in the car.

CUT TO:

30 INT. SARAH'S PARENTS HOUSE - SARAH S OLD BEDROOM - DAY

Sarah reads a pamphlet about the Art Festival. She sits in front of a canvas and grabs a brush. Her hands shake. She breathes deeply. Starts painting, but soon stops and shakes her head. Gets up and makes a call.

 **SARAH**

Hey, Martin! What are you doing right now? - Great! - A party at

Peter's? Hell yeah! Let's go!Can we meet at the coffee shop?

Perfect. See you there.

CUT TO:

31 EXT. PETER'S HOUSE - DAY

The house has a big garden and backyard. There are a lot of young people around. Sarah and MARTIN approach the party. Sarah prepares to get in, but Erica appears and she notices her.

 **ERICA**

Sarah.

 **SARAH**

(Embarrassed about Martin)

Doctor... Hum - Mrs. Erica. What are you doing here?

 **MARTIN**

Hi there.

 **ERICA**

Hi.

 **MARTIN**

Who are you?

 **SARAH**

She's a friend. Hey, listen, go inside. I'll join you in a sec.

 **MARTIN**

Okay, cool.

(To Erica)

Nice to meet you.

 **ERICA**

Yeah, you too.

He gets inside.

 **SARAH**

What are you doing?

 **ERICA**

No, what are YOU doing, Sarah? This is not what we agreed. You

need to concentrate on the Art Festival. You need to paint or draw

something in order to participate.

 **SARAH**

I know that! I haven't forgotten. But I'm not inspired. I want to

win. I need to come up with something damn good. And it takes

time.

 **ERICA**

How much time?

 **SARAH**

I don't know! Inspiration doesn't work like that.

 **ERICA**

Inspiration, really? Sarah, I'm a book editor. Don't talk to me about inspiration.

 **SARAH**

Why are you so stressed out? Are you afraid that I stay here for

too long? The Festival is only a few weeks from today.

Beat. Sarah has an epiphany.

 **SARAH**

Wait a second... Does that mean that I can stay here as long as I want to?

 **ERICA**

(Oh fuck)

Sarah... Don't, okay? Please.

 **SARAH**

And you can't do anything about it, can you?

Because I can only go back to the present when I finish what you brought me here for.

 **ERICA**

Sarah...

Sarah gives her a 'go fuck yourself' look and gets inside.

Erica looks nervously around her. She does not know what to do.

CUT TO:

32 INT. KAI'S LIVING ROOM - NIGHT

Kai is practicing a song again. Erica bursts in from the bedroom and he gets frightened. He goes against a table.

 **KAI**

Ouch! Erica! What's going on?

 **ERICA**

Oh God, I'm so sorry, Kai. But I'm desperate. Sarah has decided to

stay in the past. I talked to DR. Fred and - - I need your help.

END OF ACT TWO


	4. ACT THREE

ACT THREE

FADE IN

33 INT. PETER'S GARAGE - DAY

Loud music. There is a bunch of people PAINTING with big brushes and cans. They have lots of stains in their clothes. Some of them are even painting with no clothes on. It is a very cool and relaxed environment. Sarah, Martin and PETER get in. Sarah gets amazed with all of those people and drawings and can not stop looking around the place.

 **PETER**

(Laughing)

When the effect stopped, she was so embarrassed and covered

herself up with a bunch of leaves!

Martin laughs. Sarah is lost in admiration for that place. He notices her happiness and smiles at her. He grabs a brush and hands it to her. She gets surprised.

 **SARAH**

Oh - What is that for?

 **MARTIN**

You tell me, dear artist.

 **PETER**

Do you want to stay in this room? Be my guests.

 **SARAH**

(Defensive)

No - We don't have to stay.

 **MARTIN**

That's not what your eyes say. Why are you so defensive?

You love painting.

Beat.

 **SARAH**

It's just -

Erica and Kai get inside and Sarah notices them. Her heart stops for a moment. Martin and Peter can not know who she is.

 **SARAH**

I'll be right back, okay?

Sarah approaches Erica and Kai.

 **SARAH**

What are you doing here? Have you lost your mind? Martin will get

suspicious of you!

 **ERICA**

Then, let him. You're panicking because you know that this whole

thing you're doing is a complete nonsense, Sarah. You're a 32 year

old woman living in a 17 year old body. And you are refusing to

come back to your present.

 **SARAH**

I'm not refusing anything.

 **KAI**

You're avoiding.

 **SARAH**

And who the hell are you? Another pseudo-therapist?

Beat.

 **ERICA**

Kai was once in your shoes. He also wanted to stay in the past

forever. But he realised that he needs to live in the present. I

wanted you to meet him.

 **SARAH**

You were in therapy as well? - - Okay, look, I don't need an intervention, okay?

 **ERICA**

You always say that you don t need anything. But you always do.

 **KAI**

And you're avoiding this as well.

Sarah takes a deep breath. Better that than slap the shit out of those two people.

 **SARAH**

Look, you wanted me to paint, that's what I'll do. Okay? I'm going

to stay here, grab a freaking brunch and create something for the

Art Festival. Are you happy?

 **ERICA**

Okay... So maybe I called Kai too prematurely.

Peter and Martin approach them.

 **MARTIN**

Is everything okay here?

 **SARAH**

Yes. They were just leaving.

 **PETER**

Why? There is enough space for two more people. You can stay if

you want! Sarah's friends are my friends.

Awkward beat. Erica and Kai look at each other. He shrugs his shoulders. Why not?

CUT TO:

34 INT. DR. ARTHUR'S HOUSE - SITTING ROOM - DAY

Young Dr. Arthur is studying his fathers notes, sitting on the sofa. Alfred shows up at the doorstep and stares at him. He holds a BAG full of stuff we can not see. Dr. Arthur notices him and puts the notes away. Why is his father staring at him?

Alfred takes a GUN out of the bag and approaches his son. The little boy gets frightened but does not move. He knows it will be worse if he runs away.

 **ALFRED**

What would happen if I killed you right now, son? What would

happen to you in that future that I just went to? What would

happen to what I m developing? What would happen to time travel?

Dr. Arthur hides his face from his father and shakes, crouching in the sofa. Alfred grins and sits at his side.

 **ALFRED**

But I can't kill you, can I? You did something big with my car. I

just don't know what. Is it a cult?

He opens the bag and shows him some PARTS OF THE CAR.

 **ALFRED**

Look at these beauties, Arthur. I knew exactly what to buy. Exactly

what to make. Because I saw it. You showed me. In the future. And

for that I thank you.

Beat. The situation seems calmer now. But suddenly, Alfred gets up and throws his notes at his son. The pages spread on the floor.

 **ALFRED**

I want you to study everything that s in those notes. You need to

know every single thing by the end of today, before our four hour lesson.

Do you hear me? I want you to help me to go back and save your mother,

you little useless human being. So far, the only thing you did was kill

Elena when you were born.

Dr. Arthur gets up and collects the pages off the floor. He waits for his father to go away. He watches him going up the stairs.

There is hate in his eyes. He gets up and sneaks out of the room.

CUT TO:

35 INT. DR. ARTHUR'S GARAGE - DAY

Silence. Young DR. Arthur is at the door, glancing at the car.

Long beat. He takes a deep breath and approaches it. He knows this may change everything. He opens the hood of the car, grabs a wrench on the counter and starts messing with the motor.

36 INT. PETER'S GARAGE - NIGHT

Kai and Erica are painting in the middle of other people. Sarah is at a corner, alone, struggling with her drawing. Kai and Erica throw cans of paint at their canvas and laugh. He looks outside and realises it is very late in the night.

 **KAI**

(Pointing outside)

Hey!

 **ERICA**

What?

 **KAI**

It's late. Shouldn't we go?

 **ERICA**

What? No. Sarah hasn't finished her painting yet.

I can't leave her.

 **KAI**

Yes you can. And you know that.

 **ERICA**

I know, but - -

 **KAI**

What is going on, Erica? You can tell me.

Suddenly - SPLASH! Erica is covered in blue. Someone missed the target. Kai laughs.

 **ERICA**

(Holy shit)

Brilliant...

 **KAI**

So - Do you still want to stay? Even covered in paint?

 **ERICA**

Hmmm, in fact, yes. Yes, I do.

 **KAI**

(Serious)

Erica, don't do the same as Sarah.

 **ERICA**

(Ignoring him)

I'm going to try to fix my clothes.

 **KAI**

Erica...

She opens the garage door and -

37 INT. DR. NAADIAH'S OFFICE - NIGHT

Erica finds herself in front of DR. Naadiah. She is not wearing her friendly face today. The good thing is that Erica is not covered in blue anymore.

CUT TO:

38 INT. DR. ARTHUR'S GARAGE - DAY

Alfred finishes implanting in the car the time travel speedometer. He smiles and starts the car, playing with the pedals and looking at the needle in his new gadget. He wants it to point at the PAST". But the needle is spinning out of control. The car starts getting covered with a wave of white and the needle stops in the word FUTURE . He gets apprehensive.

 **ALFRED**

What the hell ?

CUT TO:

39 INT. DR. NAADIAH'S OFFICE - NIGHT

Erica and DR. Naadiah are still standing, face to face.

 **ERICA**

Okay, DR. Naadiah, please, not again. I don't need another lecture

from you.

 **DR. NAADIAH**

Don't you?

 **ERICA**

Yeah, I don't. Time has passed and I know how to deal with my patient.

 **DR. NAADIAH**

It seems to me that you are not dealing with anything, Erica.

 **ERICA**

Look, I know what to do, okay? At this point I think I know

change. I know that I need to do something about my patient and

send her back to the present as soon as possible. But I can't push

her, okay? And - The truth is - I don't want to go to my

present as well. Not yet. But of course that I will. I'm not

stupid. I'm just waiting for Sarah.

 **SARAH**

The same way you wanted DR. Tom to wait for you to be ready to be

a doctor?

Long beat. DR. Naadiah touched a nerve. Erica looks down.

 **DR. NAADIAH**

Come and sit, please.

They sit.

 **DR. NAADIAH**

Sarah may not finish her painting right away. It may take her months,

in worst case scenario. She may delay it. And if you can't do

anything about it, you need to live your life in the present.

Otherwise, you're just being a hypocrite, I'm sorry. And you know

that. Sometimes you don't just need to change, Erica. You need to

reinvent.

Erica starts crying.

 **ERICA**

(Her voice failing)

I know that - - that I need to tell people about this - - the

pregnancy. But it s so hard when - - when you're alone, without -

\- the father, you know. He is in jail, DR. Naadiah. The father of

my child is a criminal.

DR. Naadiah approaches Erica and gives her a hug. Long beat. Erica calms down.

 **ERICA**

Thank you. I couldn't see what I was doing.

I just need a moment in my office to get a grip and go to the present.

Sarah is a big girl. And so am I.

 **DR. NAADIAH**

Well said, doctor.

Erica smiles at DR. Naadiah. She prepares to go away when Alfred gets in abruptly. Who the fuck is that guy? Is he a patient?

 **ERICA**

Wow!

He takes his gun out of the white overall and points it at them.

Erica puts herself in front of DR. Naadiah, trying to protect her. This is so unlike her.

 **ERICA**

Oh my God!

 **ALFRED**

Who are you? What happened? I opened the door of the car and -

 **DR. NAADIAH**

Who are you? Put the gun down. What is this?

 **ALFRED**

No, what IS THIS? Is this an alternate reality? Why did I opened a

door and ended up here?

 **ERICA**

So you're not a patient? You're here by mistake? How is this

possible?

 **ALFRED**

Patient? What are you talking about? What kind of therapy do you

provide?

DR. Naadiah runs to the phone, but Alfred shoots it right in front of her. Erica screams.

 **ALFRED**

I want to know the truth!

 **DR. NAADIAH**

I'm not telling you a thing. You need to calm down so that we can

talk and clarify what happened.

He does not put his gun down. He is going to shoot at any moment.

 **ERICA**

Okay, look, we - - We are therapists. We - -

 **DR. NAADIAH**

Erica, don't.

 **ERICA**

We help unbalanced people, like you, to get back on track.

 **ALFRED**

What? And is that anything to do with time travel?

DR. Arthur gets in, with his cautious expression we all know.

 **DR. ARTHUR**

Alfred, stop.

 **ERICA**

And who are you?!

 **DR. NAADIAH**

Dr. Arthur, what is going on?

 **ERICA**

He is a doctor too?

 **ALFRED**

What is this, Arthur? These women say that they are therapists.

What are you doing with my car? What are you playing at? What kind

of cult is this? Shouldn't you be worried about saving your

freaking mother?!

 **DR. ARTHUR**

This ends here, Alfred. My father died a long time ago. And so did

my mother.

Raged, Alfred SHOOTS DR. ARTHUR IN THE CHEST and runs away. DR. Naadiah and Erica scream and run to help him.

 **DR. NAADIAH**

Oh my God! DR. Arthur!

CUT TO:

40 EXT. PETER'S HOUSE - NIGHT

Sarah is sitting at the porch, looking at the stars and holding her painting. She is about to cry. Kai shows up and sits by her side.

 **SARAH**

Leave me alone.

 **KAI**

How's your painting?

 **SARAH**

Shit. I'm going to throw it away.

 **KAI**

Can I see it?

She shrugs her shoulders. Whatever. She hands it to him. Kai analyses it for a moment.

 **KAI**

You can fix it. No need to throw it away.

 **SARAH**

Oh yeah? Why? Are you a painter or something?

 **KAI**

No, but I'm a singer and a composer. And I know art when I see it.

These things need love and work. You started loving it and working

on it. Now you need to finish it and move on. I spent months

trying to end a song. It took me forever. I spent weeks without even

looking at the lyrics. It disgusted me. It reminded me of my

dead friend - - Travis. I mourned him for a very long time. I didn't want to move

on. But - - I got extremely tired. Because this is my passion, you

know? Without it I m empty. I'm not really living.

 **SARAH**

Are you talking about the time you were stuck in the past?

 **KAI**

Once I got back to my present things were the same. And it was

even harder for me to change them. Because - - the longer you are

trapped in the past, the harder it is to face the present, Rita.

 **SARAH**

Sarah. I'm Sarah.

Beat. Kai has an epiphany. He needs to have that talk with Rita.

 **KAI**

Yes - - Yes, you are.

He gets up.

 **KAI**

Bye.

He goes away and Sarah analyses her painting. She smiles.

BACK TO:

41 INT. DR. NAADIAH'S OFFICE - NIGHT

DR. Naadiah and Erica comfort DR. Arthur, who is covered in blood.

 **ERICA**

Be calm, DR. Arthur. Everything is going to be okay.

But, in fact, DR. Arthur is calm. Calmer than Erica and DR. Naadiah.

 **DR. ARTHUR**

I know it will.

 **DR. NAADIAH**

Let's go to the hospital.

 **DR. ARTHUR**

No!

 **DR. NAADIAH**

What?

DR. Arthur drags himself to the other side of the door.

 **DR. NAADIAH**

DR. Arthur, what are you doing? Have you lost your mind?

42 DR. ARTHUR'S OFFICE - NIGHT

Alfred is inside the car and starts it. Gets excited. He is finally going to save his wife.

 **ALFRED**

It's time! It s time to go back!

The car starts shining and moving slowly.

 **ERICA**

Is that - - A time machine?

 **DR. NAADIAH**

He's going to steal it. He's going to alter the past, isn't he?

 **DR. ARTHUR**

Don't do anything to stop him, Naadiah. It's his choice.

 **DR. NAADIAH**

But it will affect us! We time travel thanks to that!

 **DR. ARTHUR**

I told you that. And it's true. But the machine passed its powers

to us, Doctors, through our levels of empathy. We don't need it

anymore. We all have those powers.

The car moves outside the garage s door.

 **DR. NAADIAH**

But he's going to the past! If he alters it -

They hear an EXPLOSION coming from outside the door. Erica and Dr. Naadiah start running outside, stunned.

 **ERICA**

Oh God!

 **DR. ARTHUR**

Stop! Both of you. It's over. It was me - - I broke the car. I

changed its features. I don't need it - - and finally realised that, so I

arranged things for it to explode.

They are shocked. DR. Arthur is responsible for killing his father.

CUT TO:

43 INT. DR. ARTHUR'S GARAGE - DAY - FLASHBACK

A broken car. A shocked young Dr. Arthur. Alfred is dead. This is the same scene we saw at the end of the teaser.

CUT TO BLACK.

END OF ACT THREE


	5. ACT FOUR

ACT FOUR

FADE IN

44 INT. ADAM'S HOUSE - LIVING ROOM - NIGHT

Dark place. Adam arrives home, exhausted. He grabs his cell phone on the table and scrolls down through the contacts. Stops in the name ERICA . Long beat. Is he going to call her? He puts the cell phone away and goes to the bathroom.

45 INT. ADAM'S HOUSE - BATHROOM - NIGHT

Adam takes off the shirt and washes his face. He stares at the mirror and passes the hand on the face. Who is that guy that is front of him? He disgusts himself. He punches the mirror and it breaks. Adam stares at one of the broken glasses on the floor and sees his reflexion again. Regretted about what he just did, he suddenly grabs all the pieces and tries to repair the mirror. He his nervous and wants to finish repairing it as fast as possible.

He accidentally cuts his hand and starts bleeding.

Long beat.

46 INT. ADAM'S HOUSE - LIVING ROOM - NIGHT

There is a bag on the table. It is being filled with clothes. Adam is going to run away. His hand his patched. He grabs the bag and storms off.

CUT TO:

47 INT. ERICA'S OFFICE - NIGHT

Erica is on her office's phone. She is worried.

 **ERICA**

What did the doctors say? - - What?! Are you serious? Have you

talked to his family? - - Oh, I'm sorry. Do you want me to go

there? - - Okay. Hang in there, DR. Naadiah. Bye.

She turns off the call and wanders in the room, trying to calm down. She feels something and stares at the door. Kai gets in, holding their painting.

 **KAI**

Erica.

 **ERICA**

Oh, God, Kai. I completely forgot abou you! I'm so sorry! But hey, I'm

going to take your advice. I'm going to live my life and Sarah

\- I just -

Kai approaches her and comforts her shoulders.

 **KAI**

Hey... It's okay.

 **ERICA**

No! It's not okay, of course it's not okay! I - I left you in

there, in the past, in my mess. I lied to you. I'm lying to

everyone simply because I'm procrastinating. Because my life

changed and I didn't want to accept it. And - I don't want to

cause an explosion like that.

 **KAI**

What do you mean?

Erica looks at Kai in the eyes.

 **ERICA**

I'm pregnant. And it's Adam's. I'm so sorry, Kai. The only thing I

do is hurt you.

Beat. She can not look at him, ashamed of herself. He keeps staring at her and smiles.

 **KAI**

Thank you. For telling me.

 **ERICA**

What? You're not mad?

 **KAI**

I'm not stupid, Erica. I was just waiting for you to tell me the truth.

Erica gasps. She hugs him tightly.

 **ERICA**

I'm sorry! Thank you!

 **KAI**

And don't worry about Sarah. I talked to her and I feel she's

going to do the right thing.

 **ERICA**

What? Wait - - So I actually did something right - - bringing you

with me?

He nods.

 **KAI**

Now, let's rest.

He holds her hand and pulls her to the door.

48 INT. ERICA'S LIVING ROOM - NIGHT

They get in. Erica gasps, tired. Notices the pot on the cooker.

The water keeps coming out of it. She uncovers the lid and magically the water stops getting out. She smiles.

 **ERICA**

Do you want to stay for dinner?

CUT TO:

49 INT. SARAH'S PARENTS HOUSE - KITCHEN - DAY

Tom and Marjory are making breakfast. They have their usual unhappy faces.

 **MARJORIE**

Watch the toasts, please.

Tom does not answer. Simply turns to the toaster.

Sarah rushes in and takes a deep breath, trying to gain courage to speak. She is anxious.

 **SARAH**

Mom, dad... I now what this is going to cause, but - I'm an artist.

 **MARJORIE**

What do you mean?

 **SARAH**

I'm a paintor. And that's what I want to do in the future when my

life changes. I've painted something and I'm going to the Art

Festival.

 **TOM**

You have no idea about the storm you're causing, have you?

 **SARAH**

Oh, believe me - I do.

She turns around and walks away.

 **TOM**

Don't you turn your back on me! Come back here right now!

50 INT. TOM'S HALLWAY - NIGHT

Sarah stumbles out of her room. She looks back at it and smiles.

She is back at the present.

CUT TO:

51 INT. HOSPITAL ROOM - DAY

DR. Arthur is in bed. He can barely open his eyes. DR. Naadiah gets in and sits by his side, without making too much noise. It bugs her seeing him convalescent.

 **DR. NAADIAH**

DR. Arthur... Can you hear me?

 **DR. ARTHUR**

Naadiah?

 **DR. NAADIAH**

Yes.

 **DR. ARTHUR**

How did you get in here? - Did the nurses let you?

 **DR. NAADIAH**

(Smiles)

No.

DR. Arthur giggles, but immediately feels pain.

 **DR. NAADIAH**

How are you feeling?

 **DR. ARTHUR**

I'm okay.

 **DR. NAADIAH**

I mean about your father.

 **DR. ARTHUR**

I know. I'm okay. I feel - completely free at last.

 **DR. NAADIAH**

But - You killed him.

 **DR. ARTHUR**

I didn't kill him, Naadiah. I get rid of the car.

I let that memory go. He was the one who got in that car. The car -

He stops talking, in pain.

 **DR. NAADIAH**

You don't need to talk. I'm just here to see you.

 **DR. ARTHUR**

No - I need to. That car was me holding on to the past,

knowing that my life had changed and that - I didn't need it anymore.

DR. Arthur holds DR. Naadiah's hand.

 **DR. ARTHUR**

Things change, Naadiah. We both know that, more than anyone.

We have changed a lot.

But we also need to accept those changes in order to healthily live in them.

 **DR. NAADIAH**

W-What are you trying to tell me?

 **DR. ARTHUR**

And we can't delay it for too long.

You know that - I won't delay it for too long.

DR. Naadiah swallows. She knows what he is telling her.

CUT TO:

52 INT. COFFE SHOP - DAY

Kai is sitting alone at a table. Rita shows up. She looks down, embarrassed about seeing him. This time she is casually dressed.

 **KAI**

Hi!

 **RITA**

Hey...

She sits with Kai.

 **KAI**

How are you?

 **RITA**

Look, Kai - I'm sorry. About the other night. I know you have a girlfriend.

 **KAI**

I'm sorry too.

 **RITA**

I know I rushed things. But I love you.

Beat.

 **KAI**

I know that maybe you think you do love me, but I don't think that's true.

I mean - I felt the same pain you do - about Travis.

And I think you see me as a way to not move on. And drown in Travis's memory.

 **RITA**

No, Kai, I -

 **KAI**

You need to reinvent, Rita.

You told me your parents remind you of Travis and that you're losing your mind.

But I will also remind you of him. You're deeply desperate to move on, but you won't do it.

And it will destroy you.

Beat.

 **KAI**

Look, I don't mean to be rude. I really care about you.

You're very important to me. And I want you to be happy.

And I want to go to your wedding. And play with your children.

And be at parties with you, and hang out... But I can't do this.

I have changed. Maybe more than that.

I have evolved. A lot. And you need to do that as well.

Long beat. Rita starts crying.

 **RITA**

I'm sorry! - Oh God, I can't believe I'm crying in the middle of a coffe shop.

But - I can't move on without your help. I'm scared.

 **KAI**

I know you are. But you are the only person who can help you.

Kai gets up and kisses her in the head. He pays the bill, by passing his debit card on a gadget on the table. It beeps, alerting that the meals has been paid.

He goes away.

CUT TO:

51 INT. GOBLINS - DAY

Erica is on the cell phone.

 **ERICA**

Yes, I'll leave within 30 minutes so that we can discuss

the launch of Jana's book. Don't panick, Julianne. Please. Okay, bye.

Judith gets in and Erica disconnects the call. Her friend is still not happy.

 **ERICA**

Judith, I'm sorry. I'm so sorry, but I didn't know what to do!

I was the first person you talked to when you got pregnant and

I couldn't do the same this time to you, but - I'm so scared!

Judith feels for her and grabs her hand.

 **JUDITH**

Hey, calm down.

 **ERICA**

Procrastinating only makes things worse and worse. I don't want to lose your friendship.

 **JUDITH**

Hey, you won't! Okay? I forgive you. Please, calm down, honey.

Taking a deep breath.

 **ERICA**

I'm sorry.

 **JUDITH**

Have you told your parents yet?

Erica shakes her head.

 **ERICA**

I'm going to tell them on the day of the launch of Jana's book.

And I want you by my side. Can you please do that?

 **JUDITH**

(Smiles)

Of course!

Erica takes another deep breath.

 **ERICA**

Okay... There's another thing that no one else knows.

You are going to be the first.

 **JUDITH**

Okay...

 **ERICA**

I'm dating Kai.

 **JUDITH**

(Surprised)

What? Seriously? How is that possible?

 **ERICA**

Oh, come on! Are you going to tell me that you never noticed -

 **JUDITH**

(Giggling)

Of course I did! Do you think I'm stupid?

It was obvious you and him were madly in love ever since you laid eyes on each other.

And I told you once that your friendship with Kai could be dangerous for your boyfriends.

Remember? - But the thing is...

Judith takes a rag out of her purse and shows Erica an article. It says "KAI BOOKER'S NEW FLING". Erica puts that away, not surprised at all.

 **ERICA**

Look, trust me. I know it's confusing,

but I am dating Kai, we're pretty serious and he loves me. And I love him.

Judith smiles and hugs her.

MUSIC CUE: "Find a Way", by Tyler Blackburn.

 **ERICA - V.O.**

Procrastination: The most common habit of our lives.

We often procrastinate moving on because we don't know how to face what comes next.

CUT TO:

52 INT. DR. TOM'S LIVING ROOM - DAY

Tom is reading a newspaper. A painting of him with many different colours suddenly appears, stopping him to keep reading. That is the painting Sarah made in the past. Tom gets surprised and notices Sarah standing in front os him, smiling. He hugs her.

 **ERICA - V.O.**

And changing our lives often envolves more than just a leap of faith.

It requires complete reinvention.

CUT TO:

53 INT. HOSPITAL ROOM - DAY

DR. Arthur is weak, in bed. His POV: The vision is blurred. A woman gets in his room. It is ELENA, his mother! What is happening? Is she back from the past too?

 **ELENA**

It's time, son. To move on to the next thing.

She suddenly disappears. DR. Arthur closes his eyes. The Electrocardiograph Machine makes a continuous beep. He died.

CUT TO:

54 EXT. DR. TOM'S HOUSE - DAY

Sarah gets out of the house and stops, feeling the sun on her skin. She smiles and starts walking.

 **ERICA - V.O.**

But how do you do that? The only possible answer is:

You'll find a way.

CUT TO:

55 INT. ERICA'S LIVING ROOM - DAY

Erica is putting breakfast on the table. There is a lot of food and it all looks so yummy. She is smiling. Turns around and bumps into a shirtless Kai. They kiss.

This is one of the most perfect moments of their lives.

He goes to the bathroom and Erica opens the fridge to take out some juice.

Suddenly she hears SOMETHING HEAVY FALLING ON THE FLOOR.

END MUSIC.

She looks for whatever fell to the floor and... WHAT THE FUCK?

Kai is there, in the middle of the living room, covered in blood. He has been shot. The Kai that just went to the bathroom suddenly appeared in the middle of the living room. Dying.

 **ERICA**

Oh my -

(Screaming)

Kai! Kai!

Erica runs to the bathroom, looking for Kai.

Turns out, this is one of the most terrifying moments of their lives.

FADE TO BLACK.

END OF ACT FOUR

THE END


End file.
